Anna Bull is a PhD candidate, whose work centres on how musical practices contribute to social change or social reproduction. She is based in the sociology department at Goldsmiths College under the supervision of Bev Skeggs and Les Back. Her study is an ethnography of classical music youth ensembles, focusing on musical progressions, social class, and reproduction of tradition in these musical practices. She completed a BA and MPhil in social and political sciences at Cambridge University, working with Georgina Born on cultures of classical music as well as a masters dissertation on political music in the UK Climate Camp movement. She worked previously as a pianist and cellist in New Zealand and Scotland. Her portfolio includes performing, teaching and education work, including playing with the New Zealand Symphony Orchestra, the New Zealand Chamber Orchestra and the Wellington Sinfonia, teaching at Strathclyde University in Glasgow, as well as leading workshops for Scottish Opera Education, and working as a piano accompanist at the Royal Scottish Academy of Music and Drama.
Caroline Bithell is Senior Lecturer in Ethnomusicology at the University of Manchester, where she also teaches an undergraduate course-unit in Arts Management. Her long-term research into Corsican music and music-makers has recently been supplemented with new work on multipart singing in and from the Republic of Georgia, alongside ongoing fieldwork in the UK. Her latest (co-edited) volume, The Oxford Handbook of Music Revival, is in press with OUP. Her new monograph, A Different Voice, A Different Song: Reclaiming Community through the Natural Voice and World Song, is to appear in 2014 (again with OUP).
Ian Brownlie is a community music practitioner with some twenty five years' experience. He trained with Community Music East in the late eighties and has maintained a close relationship with the organisation since. His practise is rooted in a radical ideology that found voice in the nineteen sixties, which was as much about challenging the cultural status quo through the process of music making as it was about the production of music itself. His practise is concerned with supporting and encouraging the learning and autonomy of individuals in whatever group setting and fostering authentic, collaborative and collective music creations.
Kathryn Deane has run Sound Sense, the UK association for community musicians, since 1995. She was an author of the Music Manifesto report, Making every child's music matter, co-architect of the notion of music education hubs and adviser to Sing Up's Beyond the Mainstream. She is adviser to Sage Gateshead/Sunderland University BA(Hons) community music, editor of Sounding Board, the UK journal of community music and sits on the editorial board of the International Journal of Community Music. Evaluation reports include Move On Up (music mentoring) and The Heroes Inside (community choirs). Recent publications include contributions to the international Handbook of Community Music and Community Music Today. Her most recent publication is ‘Employing community musicians - an ArtWorks Navigator artists lab', Sound Sense.
Xenia Horne is a musician (harp,voice, composer) and creative practitioner working as a performer and in participatory settings. Following her training at Dartington College of Arts where she spent a year as part of the Community Theatre Workshop in Plymouth, she has developed her own practice combining mainly music and drama in her work. She founded AndAction Projects in 2004 to deliver projects with other artists creating bespoke projects and site specific work.
Mark Howe is a freelance community music practitioner who trained with Community Music East (CME) on a manpower services commission community programme in 1986. He was service delivery manager for CME until early 2013, responsible for tutor team training, management and programme development as well as extensive practical delivery expertise with diverse participants in a wide range of settings. Mark is also an active musician, performing regularly in the UK and Europe with art rock band the Neutrinos http://theneutrinos.wordpress.com/about/. His most recent music and book based project ‘The Butcher of Common Sense' explores the relationship between performance space, audience and performer.
Graham Jeffery is Reader in Music and Performance at the University of the West of Scotland. His work spans participatory and community arts practices, creative pedagogies, cultural policy and community development. He has also worked as a teacher, composer and facilitator in a wide range of contexts, including work with London International Festival of Theatre, the BBC Scottish Symphony Orchestra and East London Dance. He keeps a blog at www.generalpraxis.org.uk
Dr Douglas Lonie is Research and Evaluation Manager at Youth Music. As such he is responsible for conducting and commissioning research and programme evaluations covering every aspect of Youth Music's work. Prior to joining Youth Music, Dougie was based at the Medical Research Council in Glasgow, where he completed his doctoral studies exploring how music affects young people's health. Dougie also teaches Social Research Methods and Sociology of Music, publishes regularly in journals, blogs and sector press, and has over 10 years' experience across a broad range of music education projects.
George McKay is Professor of Cultural Studies at the University of Salford, and an AHRC Leadership Fellow for the Connected Communities Programme. He has written about protest cultures, jazz music, community music, festivals, gardening. His AHRC-funded book Shakin' All Over: Popular Music and Disability is published later in 2013 by University of Michigan Press. Within the programme he is particularly interested in participatory arts and creative practices, including community music, and is keen to work across the various projects funded in this field.
Phil Mullen is a leading figure in the world of community music, developing and sustaining the longest running University programme in this field, (Goldsmiths College 1990-2012), and leading on the design and implementation of the Community Music MA in Limerick University. He is involved with all aspects of community music practice and speaks internationally on the topic. He has worked on Beyond the Mainstream programme as a researcher, trainer, deliverer, ‘critical friend' and also national advisor.
Catherine Pestano has a background in adult social work and community development. Her interest in community music was sparked initially by Frankie Armstrong and the Natural Voice Network and then expanded by studying with Phil Mullen on the Goldsmiths CMWS course in 2004. Her practice is centred round collaborative forms of community singing and music making for wellbeing, with several community choirs and pupil referral unit projects as ongoing areas of interest. An active member of Sound Sense and the Natural Voice Practitioners Network, Catherine is pursuing further studies with Professor June Boyce Tillman (Winchester). She is based in Croydon, South London.